Re: Alt-Process Prints from Digital Negatives or Positives
Quote:
Originally Posted by
bob carnie
I am really glad you are doing this Sandy , by doing the three layers separately and on Yupo you are not worried about registration issues due to shrinkage? Is this the way John is doing his tri.
Ever thought of doing a final black carbon to create the skeleton image to put the colours over. This would be a piece of cake for you , just one more layer to add.
what I do is when first setting up I do a black and white conversion and draw out the colours that I will later put back in... I like this method more than the K separation negative.
Bob,
I suspect that John does the double transfer method, where you develop the reliefs on polyester with pin registration, and then transfer them to a final paper support, as I described before. I am pretty sure that most of Tod Gangler's work is double transfer to a final cotton rag support.
Sandy
Re: Alt-Process Prints from Digital Negatives or Positives
Quote:
Originally Posted by
sanking
Bob,
I suspect that John does the double transfer method, where you develop the reliefs on polyester with pin registration, and then transfer them to a final paper support, as I described before. I am pretty sure that most of Tod Gangler's work is double transfer to a final cotton rag support.
Sandy
How are you keeping registration Sandy? , I am a bit confused, about -20 degree up here so my brain may be slow.
Re: Alt-Process Prints from Digital Negatives or Positives
Quote:
Originally Posted by
bob carnie
How are you keeping registration Sandy? , I am a bit confused, about -20 degree up here so my brain may be slow.
Bob,
I punch the separation negatives and tissue with a Stoesser punch, assemble the negative and tissue in registration and expose in the light unit, then punch the final support and place it on a registration bar. The exposed tissue is placed in registration over the support, squeegeed together, and then remove and placed in the warm water for development.
It is a lot easier to do it this way than with the old system of visual registration practiced in the golden days of color carbon and carbro.
BTW, unlike gum and CMYK printing, where a black is needed to give good DMax, this is not necessary with three-color carbon. But the K may be used to tone down slight differences in gray balance. That information from Charles Berger, who should know.
Sandy
Re: Alt-Process Prints from Digital Negatives or Positives
Quote:
Originally Posted by
sanking
Bob,
I punch the separation negatives and tissue with a Stoesser punch, assemble the negative and tissue in registration and expose in the light unit, then punch the final support and place it on a registration bar. The exposed tissue is placed in registration over the support, squeegeed together, and then remove and placed in the warm water for development.
It is a lot easier to do it this way than with the old system of visual registration practiced in the golden days of color carbon and carbro.
BTW, unlike gum and CMYK printing, where a black is needed to give good DMax, this is not necessary with three-color carbon. But the K may be used to tone down slight differences in gray balance. That information from Charles Berger, who should know.
Sandy
The Yupo is the support and it is good in water no shrinkage. nice method, give the black skeleton a go you will be impressed.
Re: Alt-Process Prints from Digital Negatives or Positives
This is interesting. Do you have a sample image to show? I remember visiting the late Gordon Chapel's home and seeing a beautiful color carbon print that was quite large on his wall. Best color print I've seen to date. I can't remember what he told me about his color work because at the time he was into pin registration and seven layer monochrome work. It would be interesting to see print examples as I say. A whole different animal I suspect from single transfer monochrome work.
Re: Alt-Process Prints from Digital Negatives or Positives
Quote:
Originally Posted by
Jim Fitzgerald
This is interesting. Do you have a sample image to show? I remember visiting the late Gordon Chapel's home and seeing a beautiful color carbon print that was quite large on his wall. Best color print I've seen to date. I can't remember what he told me about his color work because at the time he was into pin registration and seven layer monochrome work. It would be interesting to see print examples as I say. A whole different animal I suspect from single transfer monochrome work.
Jim,
What do you mean by sample image? What I posted is a real color carbon print, just as it came out of the last water bath after putting on the cyan relief.
Or do you mean sample images showing the pin registration work flow?
Sandy
Re: Alt-Process Prints from Digital Negatives or Positives
Sandy, my mistake. I didn't go back far enough. Beautiful image. Thanks.
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Re: Alt-Process Prints from Digital Negatives or Positives
Attachment 161212
Well after a 3 1/2 year absence the Lambda is now back producing film... I cannot express how much of a game changer this is for me, I really like the real silver film for its weight, blocking power , manageability and archival aspects.
What you see here are enlarged silver film from digital capture that I am going to make silver gelatin lith contact prints for a show I am producing called Pallas which covers all our well known musicians from the 50's to Prince three years ago.
I think my lab is the only place that you can get this type of film, This will be a perfect output for those with access to a public darkroom or their own darkroom to do contact print.
Re: Alt-Process Prints from Digital Negatives or Positives
I would love to be able to work from such a negative from digital file!
Re: Alt-Process Prints from Digital Negatives or Positives
Quote:
Originally Posted by
bob carnie
Attachment 161212
Well after a 3 1/2 year absence the Lambda is now back producing film... I cannot express how much of a game changer this is for me, I really like the real silver film for its weight, blocking power , manageability and archival aspects.
What you see here are enlarged silver film from digital capture that I am going to make silver gelatin lith contact prints for a show I am producing called Pallas which covers all our well known musicians from the 50's to Prince three years ago.
I think my lab is the only place that you can get this type of film, This will be a perfect output for those with access to a public darkroom or their own darkroom to do contact print.
Show off!